ACTIVITY 06: INFORMATION REPORT

Such elements are used to illustrate and depict solid objects in three-dimensional

space – an illusion that is. However, a line, shape, texture, or color is tangible, creating a

direct visual impact and evoking an immediate response. Therefore, we must understand

these elements and their relevance to the design principles to be executed properly.

SPACE

Space, defined by George Salvan in his Architectural Theories of Design, is

“indefinable, intangible, and limitless,” and only when it is enclosed with materials

according to the rules of composition would become “architecture.” Meanwhile, in an essay

written by Gerard Lico, Architecture and Sexuality: The Politics of Gendered Space, he states

that: “… space in itself is not inherently powerful. It is the politics of spatial usage that

determine its power.” Therefore, space refers to the volume contained within walls, the

parameters of how much can be placed inside a room. It is heavily considered in the design

process, which starts with an in-depth analysis of how the provided space shall be used. The

zones of space and the activities that will take place thereof, as well as the circulation

patterns that define the movement within those zones, shall be initially determined to

achieve balance.
 In art and design, there also exist Positive space – the subjects of areas of interest,

and Negative space – the areas that are left behind. The “unusable” spaces are the

byproduct of the intentional spaces and often are hard to repurpose. However, awkwardly

shaped, tight spaces that seem impractical could still be utilized, for instance, placing

shelves or drawers into a space for extra storage. In fact, traffic flow areas such as hallways

are negative spaces with practical functions. Negative spaces can also be intentional, and if

thoughtfully placed, would direct the overall flow of a space.

Furthermore, here are some points that one should consider:

 The structure of the room and the main focal points; the windows, doors,

fixtures. Are they balanced in the room? If not, think about what should be

added to the space to keep the structure of the space balanced.

 The perception of space according to one’s body size; different sized spaces

suit different sized people.

 The space in terms of volume; elements should not overfill the space.
  The arrangement of furniture and its proportion to the room.

 The circulation pattern through the room that follows a convenient pathway

from the door to all other main activity areas.

Questions to ask oneself in creating a space plan:

 What is the space for? Will it be multi-functional?

 How many people will be using the space and will they all be using it for the

same purpose?

 Is there any existing furniture that one would want to be used in the space?

 Can furniture be moved in or out of the room?

 How does one want the room to feel, space-wise; open and airy, cozy,

minimal?

 How much natural light is available and what kinds of lighting will be needed?

 What are the focal points of the room and how can it be taken advantage of?

 Is there a need to create focal points?

Creating a Bubble Diagram also helps to visualize the activities that shall take place in

the given space and the

relationship between

these activities.
 LINE

A line is a mark made by a moving point and implies direction and weight. It

functions in both symbolic language and the expression of emotion. Lines can independently

suggest forms, as well as be combined with other lines to create textures and patterns. It is

used to create width and height, or project movement. However, a line is not always explicit

as it can also exist by implication because objects in actuality do not have outlines. Instead,

such are established by contrast and color.

As mentioned above, lines can also communicate emotion through their character

and direction. Horizontal lines suggest a feeling of calmness or stability, like of those

structures resting parallel to the earth. On the other hand, vertical lines convey loftiness and

spirituality and are often seen in grand cathedrals (to lift your eyes heaven-ward) and

skyscrapers.

Lines are also created by the furnishings and architecture of a room and steer the

viewer's eye once they enter.

 Horizontal lines can be found in furniture such as tables, chairs, and shelves. Using

long horizontal lines can also visually expand space, making rooms appear wider or longer,

but too much

would make a

room dull and

unstimulating.

Vertical lines are

seen in windows and

entryways and are used to

 make interiors seem higher; however, too much would

generate feelings of confinement.

Dynamic or diagonal lines suggest action and

movement; captures human interest and stimulates the

eye and mind. In addition, zigzag lines, that make up a

chevron or herringbone pattern, can add energy and life

to an interior. A proper dose of these lines would avoid

weariness and discomfort.

Curved lines suggest comfort, relaxation, and safety, and recall the curves of the

human body. A series of curved lines would add a graceful rhythm to a room. Flowing lines

like such move gently and can be unpredictable, adding more interest to the viewer.

Excessive use would make a room appear too “feminine”.

 These lines can be combined, with either one or two in dominance to achieve a

desired effect.

FORM

Form implies space and cannot be devoid of it. The reciprocal relationship of the two

is essential, given that architecture’s purpose is to provide internal sheltered space for

habitation.
 Form can either be two-dimensional or

three-dimensional. Two-dimensional forms

have width and height and can be enhanced

to appear three-dimensional; whereas, three-

dimensional forms have width, height, and

depth. Forms can also be classified as either

organic – forms that are mostly thought of as

naturally occurring and have irregular outlines,

and geometric – forms that are man-made

and correspond to named regular shapes.

Moreover, a number of aspects must be considered in order to analyze or design an

architectural form, namely:

A. Shape – Refers to the characteristic outline or surface configuration of the form and

can be perceived through contour or silhouette.

B. Mass or Size – Mass combines with shape to define form. It refers to the physical

dimensions of the form – its length, width, and depth. Meanwhile, its scale is

determined by its size relative to other forms in its context.

C. Texture and Color – Both are inherently linked to materials and are attributes that

distinguish a form from its environment. The shifts in color and texture can affect the

visual weight of a form; for instance, the shift from light to dark hues can radically

reduce the size of a room.

D. Position – Refers to the location of a form relative to its environment.

 E. Orientation – Refers to the direction of a form relative to the ground plane, the

compass of points, other forms, or to the person viewing the form.

F. Visual Inertia – Refers to the degree of concentration and stability of a form. It also

depends on the form’s geometry, as well as its orientation relative to the ground

plane, the pull of gravity, and our line of sight.

While form is the shape of the room, it is also present in the objects within it. Adding

forms of similar shapes can create harmony and balance, whereas a mixture of varying

shapes could lead to a chaotic result. Thus, it makes more sense for a space to have a
dominant form that is also repeated in minor elements in order to achieve a more pleasing

outcome.

LIGHT

Light has a crucial role in space; it draws attention to textures, colors, and forms

thereof, and without it, none of the elements would be able to fulfill their purpose. Whether

natural or artificial, lighting has its way of unveiling the beauty of an environment and

enhancing what we can already perceive. It adds emotional value to architecture; creates an

experience for whoever occupies a space.

It can be categorized into:

 Task lighting – those that have a defined purpose. It is important to take into

consideration the activities that will be undertaken in the space; for instance, an

office will require bright lighting for the space to be conducive for work, whereas, a

living room would settle for a much dimmer lighting for a space that is more

versatile.

 Accent lighting – those that brings emphasis towards objects; for example, to

highlight an artwork.

 Mood lighting – those that set the mood and ambience.

 Even so, natural lighting

should always be taken into

account, and can be manipulated

through rational placement of

doors, windows, and even mirrors.

One should also mind that lighting

fixtures themselves are visual

elements that can add interest towards the space.

COLOR

The goals of color in design

and architecture are not relegated

to decoration alone. Studies have

shown that one’s reaction to an

architectural environment heavily

relies on the sensory perception of

color. Color, therefore, influences us psychologically and physiologically.

 The impression of a color and its symbolic message is significant in creating the

psychological mood or ambiance that supports the function of a space. Moreover, the book

“Mensch, Farbe, Raum” (“Human, Color, Space) outlines a breakdown of the different levels

in which we sense and experience colors:

 Biological Reaction to a Color Stimulus – Biological reactions to color are solely

physical in nature. For instance, one’s pulse will noticeably increase when exposed to

the color red and decrease when exposed to blue.

 Subconsciousness – The reaction to color originates from our genetic imprinting

rather than our intellect. It might also be triggered by past experiences, such as

when a person previously got into an accident, they now might have subconsciously

associate red (the color of blood) with bad experiences.

 Conscious Symbolism Association – This develops through personal experiences.

There are universal associations such as blue that is usually associated with sky and

water, yellow with sun and light, and red with blood and fire.

 Cultural Influence – Some cultures such as England’s associates green with being

sick, whereas, Germany’s associates green with being hopeful.

 Trends, Style, and Fashion Influence

 Personal Relations – It is said that younger people prefer more saturated and

primary colors, while older people prefer-toned down colors.

RED

Effect: exciting, stimulating

Association:
(Positive) passionate, fervid, active,
strong, warm
(Negative) Intense, aggressive, raging,
fierce, bloody
Character: the most dominant and
dynamic color
Ceiling: intruding, disturbing, heavy
Walls: aggressive, advancing
Floor: conscious, alert

ORANGE

Effect: stimulating, cheering

Association:
(Positive) jovial, lively, extroverted
(Negative): intrusive, blustering
Character: Less masculine than red
Ceiling: stimulating, attention-seeking
Walls: warm, luminous
Floor: activating, motion-oriented

YELLOW

Effect: cheering
Association:
(Positive) sunny, radiant, vital
(Negative) egocentric, glaring
Character: happiest of colors
Ceiling: light, luminous, stimulating
Walls: warm, exciting to irritating
Floor: elevating, diverting

GREEN

Effect: retiring, relaxing

Association:
(Positive) tranquil, refreshing, natural
(Negative) common, tiresome
Character: most restful color to the
eye
Ceiling: protective, reflection on the
skin can be unappealing
Walls: cool, secure, calm
Floor: natural, relaxing

BLUE

Effect: retiring, relaxing

Association:
(Positive) calm, sober, secure
(Negative) frightening, depressing,
melancholic
Character: appears to be transparent,
wet, cool and relaxing
Ceiling: celestial, cool, heavy (if dark)
Walls: cool and distant, space
deepening
Floor: fluid, substantial

PURPLE

Effect: subduing
Effect: subduing Association:
(Positive) dignified, exclusive
(Negative) lonely, pompous, conceited
Character: delicate and rich, or
unsettling and degenerate
Ceiling: subduing
Walls: heavy, overpowering
Floor: fleeting, magical

PINK

Effect: lively, calming

Association:
(Positive) intimate
(Negative) too sweet, weak
Character: generally considered
feminine
Ceiling: delicate, comforting
Walls: intimate, too sweet
Floor: too delicate, rarely used

BROWN

Effect: subduing
Association:
(Positive) warm, secure, stable
(Negative) oppressive, heavy
Character: (wood and stone) appear
comfortable and warm
Ceiling: oppressive, heavy
Walls: secure
Floor: natural, stable
 WHITE

Effect: unsettling
Association:
(Positive) clean, crisp, bright
(Negative) empty, sterile
Character: there are psychological
and physiological factors for not using
white as a dominant color
Ceiling: empty
Walls: neutral to empty, sterile, idle
Floor: touch-inhibiting

GRAY

Effect: neutral, calming

Association:
(Positive) neutral
(Negative) boring
Character: non-therapeutic
Ceiling: shadowy
Walls: neutral, boring
Floor: neutral

BLACK

Effect:
Association:
(Positive) deep, abstract
(Negative) dungeonlike, night, grief,
death
Character: associated with oppressive
power, darkness, and the unknown
 Ceiling: hollow, oppressive
Walls: ominous, dungeonlike
Floor: odd, abstract

Similar in choosing

lighting, the activities that shall

occur in the space should be

taken into consideration, such

that color can evoke memories

and emotions. Natural and

artificial lighting must also be thought of as it will also affect the color of the room, given

that light can alter our color perception. Additionally, it is more likely to incorporate lighter

colors in smaller spaces to give the illusion of more space, while darker colors project a

more powerful dimension to a larger space.

TEXTURE

Texture refers to the tactile surface of an object or finish. It brings dimension to a

room, as well as a subtle sense of depth. It can be classified into two types:

A. Visual texture – Refers

to the texture that is

perceived by the eye,

that is, the impression

of texture.
 B. Actual or Tactile texture – Refers to the texture that can be seen and felt, and
possesses three-dimensional characteristics.

Texture has the ability to create a balanced interior by adding interest and detail to

space, hence, it is best to map out textures in comparison to the other elements to give

emphasis and contrast to such space.

PATTERN

Pattern, combined with color, can also achieve the effect of texture. It refers to the

repetition of a graphic motif on a material, and can be found in wallpaper, furnishings, rugs,

fabrics, and so on. Like texture, patterns also have the ability to define surfaces, impact

scale, and add visual interest to a space. It is best to beforehand consider the size and

theme of a room, for patterns can be overwhelming for a small space. However, patterns

that consist of horizontal and vertical lines, as previously mentioned, can visually heighten

or lengthen a space. In regards to style, it must be known to categorize patterns to ensure

harmony and to maintain a theme. For instance, it is preferred to have traditional styled
homes to incorporate organic and floral prints, while contemporary homes incorporate

geometric and abstract prints.

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